Tipography

Slabana

Project details

Category

Tipography

In 2014 I took a PG Digital Editions where I learned specially about digital publications. Thats was when I started to have a special consideration for digital typography so the next year I took a PG Typography and I developed a typeface for display, designed for small screens and digital devices.

 

 

“A lot of kids nowadays can use a computer before they can write.”

Max Bruinsma (2004): «Words on screens», Typotheque.

 

SLABANA it´s a custom typography I designed myself from scratch as a result of my final project for my Postgraduate degree in Typography. The starting point of this project was the need for a typeface especially for comfortable reading on the screen, in small sizes. The goal of Slabana was not a printing typeface adapted to the screen, but to design a typeface meant to be used on the screen.

 

The 7 principals of this type

1. Robust design

2. Austerity of the pixel grid

3. Rational principles

4. Little variation in stroke weight

5. Large x-heights

6. Open counter forms

7. Subtle characteristics

 

 

Optimizing typography from the beginning means optimizing readability, accessibility and usability. It must reflect in the digital mode the aesthetics of the era. Beyond the final result of Slabana, the objective of the project was the research and experimentation that have been the two pillars of the development of this typography. In order to meet all the requirements, the problem of typography design is addressed from austerity, in other words, the need to turn on or off a pixel.

 

 

First sketches

The first sketches are intuitive and the primary goal is the search for features that give identity to the letters, taking into account the formal attributes defined above. Different finishes are tested but no definitive forms are looked for, only the essential letters that share similarities to generate the system are sketched.

Digitisation

Starting from the sketches, the height of “x”, uppercase, descending and ascending are defined. The proportions and width of vertical and horizontal hastes are also determined. In this part f the process my aim was to design the typography in a homogeneous way and transfer its essence to each of the characters, setting a criteria of links and finishes.

 

 

First digital corrections

Once the sketches are scanned the first printed tests begin, where errors of proportions, weight and counterforms are noticed. Basic character settings and terminations It seeks to unify contrasts in the links and new terminations are experienced, deliveries between construction elements and different finishes.

 

 

Determining traits

CounterformsThe internal forms of the signs are noticeably wider than the standard to favor legibility in very small sizes. The counterforms are modular and homogeneous.

Stroke Trapezoidal situations are avoided, replacing them with mostly parallel and regular strokes, generating robust letters. The purpose is to achieve a homogeneous texture that facilitates reading.

JointsThe auctions are quadrangular and robust in relation to the style of the stroke. The serifs provide color and are visualized in small sizes. The joints are soft, but with no cartels.

 

Constructive features

  • 1. Low capitalization – to optimize the line spacing from long texts to small size.
  • 2. Enlarged openings – large spaces between the elements of the letter for light to enter.
  • 3. Generous “x” height – the typography seems bigger and the reading becomes more enjoyable.
  • 4. Exaggerated traits and differentiators – the characteristics of glyphs (serif, tails, etc.) are exaggerated to be easily recognized in small sizes and low resolution
  • 5. Little Contrast Moderate and uniform line thicknesses – to reduce the danger of disappearing at small sizes.
  • 6. Wide forms – the letters are generous and open and the spacing between characters is broad.
  • 7. Ascending and short descending – the most important parts of the characters stand out since they occupy the greatest amount of space, without colliding with the neighboring lines.

 

relationship between characters and optical settings
relationship between characters and optical settings
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